To my mind there are three ways to learn: question, do, and fail. Of course, each of these has its own set

of specifications and complications, but ultimately any one of them, taken together or separately, has

the potential to teach. As a professor and a director, it is my job to facilitate the context that fosters any

of the three to occur. It is also my duty to convey that failing is not the end of the intellectual or creative

endeavor.

Engaging in the Socratic method both in the classroom and in rehearsal encourages an atmosphere of

curiosity and critical analysis necessary for the discovery and retention of ideas. Rather than

encouraging students to find the “right” answers, I urge them to explore the various avenues by which

they might arrive at the most useful questions. Inquiring why a character does what they do, or why

liturgical drama was an effective tool to quell rebellion and dissent, encourages students to tap into

their academic and reasonable minds. Helping students combine the rational mind and the creative

impulse is key to my pedagogy.

To act is to do, and in studio courses, as well as in the rehearsal hall, it is important to do the work as

often as possible. Structuring courses to afford students ample opportunity to practice the craft is often

challenging considering time and resource constraints. In some ways, this is a gift to creativity. I am

continually revising my course approach and content to better facilitate the actionable areas of my

instruction. After several years, I have come to realize that student requests for more scene work were

not just reflecting their need to perform; the doing is the thing that solidified the theory. Finding space

for doing in my academic courses in the form of projects and presentations has had a positive impact on

learning outcomes as well. Making sure to model and reinforce the importance of effective time

management, in rehearsal and outside of it, balance, and regular scholarly exploration is integral in my

approach to classroom interaction as well. Equally imperative is the creation of a safe space to challenge

my students and myself.

Failing is not an embarrassment, nor is it a sign of weakness. It does not belie a lack of talent, and

sometimes it is not even the result of poor preparation. Sometimes it just happens, and it is usually a

catalyst for growth. I do not subscribe to the notion that instilling fear in students drives them to

achieve. I am dedicated to openness, critical inquiry, and trust in the classroom. I prefer to empower

students with knowledge and the permission to try, fail, and try again without risking censure. Students

need to know that they will be held accountable for their failures, and they certainly do not want to

repeat them, but if they accept my honesty, and are honest with themselves, I can help them benefit

from having failed. Taking responsibility for shortcomings and missteps is a benchmark to achieving true

professionalism and personal maturity, and I work to generate an awareness of that in my students.

My interdisciplinary background also gives me a unique opportunity to apply different lenses to course

content. Scholarship on intersections of identity provides a challenging and satisfying counterpoint to

the cannon and allows students to negotiate the spaces between privilege and oppression in the texts

we study in theatre courses as well as within their own lives. Grappling with the big questions in an

environment that allows for dissent and debate while fostering listening and respect is perhaps my

greatest strength as an educator/director, and I am thrilled that students commit to that journey and

engage in true discourse where they are actually listening to one another.I have been fortunate enough to work with diverse groups of students in my career. Sometimes I have

needed to adapt course material to meet the needs of the differently-abled, or work harder to ensure

the tools and texts and language I’m using reflect the diversity in the room. This has sometimes required

additional time and energy, but it has always paid off in more engaged and aware students, and a better

sense of community across difference. I believe in the sacredness of ensemble; that everyone can feel

imperative to the group but also be celebrated for their uniqueness.